
The King Neighborhood Welcomes Portland's First Upscale Balkan Restaurant
One of the Portland area's most promising chefs is about to take his pop-up to its permanent location. Vedran Jordan will host the grand opening for his Alma on Friday, June 13. Jordan's run to this opening is the stuff of modern-day restaurant fable: He came to the country as a 12-year-old refugee from Sarajevo, cut his teeth cooking at Bamboo Sushi, Gado Gado, Oma's Hideaway, with chef Gregory Gourdet at Kann, and then opened Alma in honor of his mother. Getting ready for the Balkan restaurant's opening, he's focused on making sure the kitchen lives up to all that hype. 'I feel extremely lucky to have the crew that I have,' Jordan says. 'Currently, everyone is really putting everything they have into it. I really can't be more thankful.'
The food and drink at the reservation-only restaurant include a suite of 'Ottoman-era' dishes. Since announcing the debut, a few more items have been added to the opening roster. The imam bayildi is a particular highlight in Jordan's mind, a half-roasted eggplant marinated overnight in water with added Vegeta — sort of like a 'Bosnian MSG,' Jordan says — before the innards are scooped out and tossed with aromatics, chilies, and tomatoes. It's then served with toum yogurt and green zhoug. The kanpachi crudo arrives dressed in black Moroccan salt, housemade citrus kosho, and ginger, the fish itself sourced from local purveyor Aji Fish Butchery. The baba ghanoush and lamb shank are no small feats, either.
The drinks at Alma are thoughtfully prepared by beverage director Chris Mateja, formerly of Nightingale. Liquors from all over, including South America and the Balkans, feature on the vibrant, bright cocktails. There are three rakias on the menu, too. Rakia is a Balkan fruit brandy, and at Alma, grape, plum, and a secret third flavor are all featured, with three more coming down the road. The spirits are custom-made for the restaurant by Andy Garrison from Tuff Talk Distilling.
Mostly, the restaurant — a pretty space in the King neighborhood — is meant to be a positive impact on the community. During the first week, five percent of all sales proceeds will be donated to The Sameer Project, a donations-based aid initiative led by Palestinians. On the local level, Jeremy Fong works as the chef de cuisine, Mo Morales as sous chef, and Emily Gilmer as general manager. This cast of characters is just as important to Jordan as any other part of the business; he says, if he's lucky, Alma will be known for its hard working, compassionate pros. 'Something that's very sustainable,' he says, 'I want to make sure people are pursuing their passions and always learning.'
Alma (5237 NE Martin Luther King Jr. Boulevard) opens Friday, June 13 with opening hours from 4 to 9 p.m. Thursday to Monday, by reservation only.
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Eater
5 hours ago
- Eater
The King Neighborhood Welcomes Portland's First Upscale Balkan Restaurant
One of the Portland area's most promising chefs is about to take his pop-up to its permanent location. Vedran Jordan will host the grand opening for his Alma on Friday, June 13. Jordan's run to this opening is the stuff of modern-day restaurant fable: He came to the country as a 12-year-old refugee from Sarajevo, cut his teeth cooking at Bamboo Sushi, Gado Gado, Oma's Hideaway, with chef Gregory Gourdet at Kann, and then opened Alma in honor of his mother. Getting ready for the Balkan restaurant's opening, he's focused on making sure the kitchen lives up to all that hype. 'I feel extremely lucky to have the crew that I have,' Jordan says. 'Currently, everyone is really putting everything they have into it. I really can't be more thankful.' The food and drink at the reservation-only restaurant include a suite of 'Ottoman-era' dishes. Since announcing the debut, a few more items have been added to the opening roster. The imam bayildi is a particular highlight in Jordan's mind, a half-roasted eggplant marinated overnight in water with added Vegeta — sort of like a 'Bosnian MSG,' Jordan says — before the innards are scooped out and tossed with aromatics, chilies, and tomatoes. It's then served with toum yogurt and green zhoug. The kanpachi crudo arrives dressed in black Moroccan salt, housemade citrus kosho, and ginger, the fish itself sourced from local purveyor Aji Fish Butchery. The baba ghanoush and lamb shank are no small feats, either. The drinks at Alma are thoughtfully prepared by beverage director Chris Mateja, formerly of Nightingale. Liquors from all over, including South America and the Balkans, feature on the vibrant, bright cocktails. There are three rakias on the menu, too. Rakia is a Balkan fruit brandy, and at Alma, grape, plum, and a secret third flavor are all featured, with three more coming down the road. The spirits are custom-made for the restaurant by Andy Garrison from Tuff Talk Distilling. Mostly, the restaurant — a pretty space in the King neighborhood — is meant to be a positive impact on the community. During the first week, five percent of all sales proceeds will be donated to The Sameer Project, a donations-based aid initiative led by Palestinians. On the local level, Jeremy Fong works as the chef de cuisine, Mo Morales as sous chef, and Emily Gilmer as general manager. This cast of characters is just as important to Jordan as any other part of the business; he says, if he's lucky, Alma will be known for its hard working, compassionate pros. 'Something that's very sustainable,' he says, 'I want to make sure people are pursuing their passions and always learning.' Alma (5237 NE Martin Luther King Jr. Boulevard) opens Friday, June 13 with opening hours from 4 to 9 p.m. Thursday to Monday, by reservation only. Sign up for our newsletter.
Yahoo
7 hours ago
- Yahoo
Cole Escola Wins Tony For 'Oh, Mary'
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Los Angeles Times
12 hours ago
- Los Angeles Times
In Geoff Dyer's U.K. childhood, a Cadbury Milk Tray meant everything
A certain sort of British memoir takes education as its queasy, pivotal center. The narrators of these books — among them Robert Graves' WWI-scarred reminiscence, 'Good-Bye to All That' (1929), and Henry Green's WWII-era bildungsroman, 'Pack My Bag' (1940) — are often tortured by their schooling, with its wicked authority figures and cruel classmates. Importantly, they refuse to be tight-lipped about the experience. They usually — in the cases of the above, always — end up at Oxford, where their tenure at such an ideal of English education allows their adult selves to come into view. Geoff Dyer is among the great uncategorizable prose writers of the past several decades and he also went to Oxford, albeit at the end of the 1970s, with the war deprivations of yore in rearview. He was not reared by British public academies — the privileged equivalent of private schools in America — but instead at a grammar in suburban Cheltenham, 'a place famed for its Jane Austeny terraces,' he states in his new autobiography, 'Homework,' though his alma mater stuck out like a jagged edge: It 'was, by some distance, the most forbidding modernist building in town.' 'Homework' distinguishes itself like such a structure among the developed, dreary grounds of the British scholastic narrative. No fan of Dyer's, whose many books have ranged from a bizarre if thrilling immersion in the psyches of American jazz musicians to a volume about procrastinating while trying to write about D.H. Lawrence, will be surprised that he departs from precedent. But even if his latest never actually takes us to university ('Oxford lies beyond the boundaries of this book-map and inventory,' he announces), it reflects U.K. literary custom like nothing he's written. Dyer, now 67 years old and for a decade a USC professor, is a cosmopolitan author whose output — fiction, nonfiction, both — has often spanned far-flung locales. Yet this project's geography is circumscribed, its borders hedged. If Dyer has grown sentimental about the England of his upbringing, his nostalgia is a subtle critique of how optimism in big government has grown worse for wear — 'Homework' bursts with working-class pride, a fond and mournful belief in the possibility of the British welfare state. Still, the fact of remembering can sometimes feel more important to Dyer than how events translate. He leads us through a grove of anecdotes, some more meaningful than others. Dyer conjures a macabre, powerful image of his father in a hospital bed after a botched surgery, wearing a badge that reads 'Private Health Care Makes Me Sick,' and spends a few too many pages on the delight of eating 'sweets' (not candy — too Yankee), which nonetheless produces this glorious quip: 'During one discussion of various oral afflictions, my mum exclaimed 'I've had gum boils,' as if announcing an achievement that was in danger of being unjustly overlooked.' Humor is his life raft because he neglects to plot much of a course around the seas of memory. The book's languor can be ponderous and vintage, more 20th century than 21st. Yet the text's unhurried recollections reflect its content: 'Homework' feels leisurely as if to reflect the functional, socialist-adjacent government that allows its characters to subsist. If only, Dyer implies, Americans with the misfortune of paying for their own dental care could afford the rite of developing gum boils. Eventually, Dyer's aimlessness gets us somewhere — and, in the most English way, we find the book's emotional destination in what he neglects to proclaim outright. Dyer, an only child, spends a lot of time delving into his relationship with his parents, focusing on moments when he butts heads with his dad. Young Geoff, child of an expanding consumer economy, wants a guitar, a stereo, a Red Feather racing bike — 'If you didn't have a racer you didn't have a bike,' his older self declares with undiminished enthusiasm, 'but since no one who had a bike didn't have a racer this wasn't an issue.' He receives all of these things. His dad is a sheet metal worker, his mother a school cook, and they have limited financial means — still, the book's contrast, between familial impecunity and the minor damage of the narrator's disappointments, forces us to look past circumstance and consider how materialism relates to affection and if this conflict is generational. Dyer's father was traumatized by the austerity of growing up in England between two military cataclysms, and his daily satisfaction is bound in his ability to pinch pences. In one particularly memorable scene, he buys his son a tennis racket at a store that offers a 10% discount to members of an athletic club — to which he doesn't belong, but he argues his way into getting the deal regardless. In another, Dyer describes a Cadbury Milk Tray that his dad purchased for his mother each year on Valentine's Day though his mom didn't like chocolate. This did not dampen her gratitude, however: The gesture 'was an expression of indulgence unrestrained by any considerations of expense.' Naturally, most of the contents of the Milk Tray were eaten by me, first the ones I knew I liked from the top layer and then, when that top layer had been decimated, the same items from the bottom layer. This bottom layer also came to include what my Auntie Hilda called 'spit-backs' from the top layer: half-eaten choices that I'd liked the look of — based on the legend — but then turned against when I took a bite. And so, to avoid waste, they were returned to the box for someone else — my dad — to finish off. This moment sticks in the mind, the intimacy of a family in which a present for the mother becomes a treat for the child, whose chewed and discarded food is finished by the father. It points toward the book's core: a question of how to distinguish tenderness from frugality. Is 'Homework' about a child who took a remarkably frictionless path, aided by a nation that had invested in civic institutions, from monetary hardship to the ivory tower? Merely technically. Is it a story of how members of a family, protected by a social safety net from abject desperation, developed different ideas about how to relate to material circumstance? We're getting there. What 'Homework' does best is keep these possibilities open while never having an answer for whether the elder Dyer's annual ceremony with the Cadbury box was an act of love. The real homework is the labor that we do when we spend our whole lives wondering. Felsenthal is a fiction writer, poet, critic and essayist whose work has appeared in the New Yorker, the Guardian, the Atlantic and other publications.